At my second concert I played, not on my own piano, but on a Viennese instrument. Diakow, the Russian general, was kind enough to lend me his piano better than that Hummel one and at once the audience, which was larger than at the first concert, was satisfied. They applauded straightaway, were delighted that each note sounded like a little pearl and praised me for playing better than at the first concert. When I came forward at the end there were calls for a third concert. The Krakowiak Rondo had an enormous effect and there were four rounds of applause. Kurpinski was sorry I had not played my Fantasia [on Polish Airs] on the Viennese instrument and the next day Grzymala expressed the same opinion more strongly in the Polish Courier. Eisner's view is that I could only be properly judged after the second concert, but frankly I myself would have preferred to play on my own piano. The general feeling, however, is that the instrument I used was better suited to the hall. You know how the first programme was arranged; well, the second began with Nowakowski's symphony (as a compliment to the composer), then came the first movement, Allegro, of the concerto, Bielawski played Beriot's Variations and then came my Adagio and Rondo. I began the second half with the Krakowiak Rondo, then Mme Mayer sang in her very best style an aria from Soliva's Helen and Malvina. Finally I improvised and greatly pleased the boxes on the first balcony. To be quite frank, I did not improvise in the way I felt inclined to, for it would not have suited that kind of audience. All the same, I am surprised that the Adagio made such a general impression: wherever I go they speak of nothing else. You have of course had all the newspapers, or at least the main ones, and you can confirm that everyone was delighted. Mile de Moriolles sent me a laurel wreath and today somebody else sent me a poem. << less